June ’15’s calendar is exactly the same as the one I lived through in June ’81, June ’87, June ’98, and June ’09 (you can look it up). But June ’87’s the month I graduated from Mount Vernon High School. At seventeen, my Blackness, my authenticity as a young man and as a Black man, my place in the world, all were question marks. Between Black administrators like Estelle Abel and Brenda Smith (not to mention White ones like Richard Capozzola and Carapella), teachers like David Wolf and my guidance counselor Sylvia Fasulo, plus the fifty or so “cool” kids with their ’80s pre-Nu Jack Swing/post-Purple Rain Prince look, I might as well have been an alien from another planet. That’s not even counting my strange and out-of-character incident with Dahlia, the humiliation of the Sam and Laurell Awards Show, the dissonance of dealing with Mom, my idiot stepfather Maurice and my siblings at 616, my father Jimme’s drinking, and the run-ins with not-so-normal Crush #2 in Phyllis.

I had my latest Walkman, my first Sony Walkman, actually, and my book bag with my recent tape investments, including a few I’d bought at Tower Records the previous Friday. Investments like Fleetwood Mac’s Tango In The Night, Genesis’ Invisible Touch, Whitney Houston’s Whitney and Glass Tiger. Glass Tiger, by the way, was a good indication of my state of mind. Boy was I pathetic!

Here I was, attempting to discover myself through what was then my normal coping strategy of escapism via eclectic music. Given my long periods of deprivation from pop culture between religion, abuse and poverty, I’d really only been at this discovering music thing for a little more than three years. I was basically a preteen in terms of pop culture and musical development outside of choir in elementary and middle school and playing the trombone and fife.

Seriously, I look at this Canadian group Glass Tiger’s ’86 album cover The Thin Red Line now and think, “this stuff isn’t even Michael Bolton worthy!” Songs like “Don’t Forget Me (When I’m Gone)” and “Someday” were actual Billboard chart-toppers in ’87, though, and because I had no friends in whom I placed trust, I trusted my coping strategies and Casey Kasem.

That, and Columbia Record Club, which I signed up for off and on between ’86 and ’89, with my high point for using their Terra Haute, Indiana mailing operation being the spring and summer of ’87. I could use them to find music I wouldn’t dare buy even at Tower Records or Crazy Eddie’s. I bought new age music by Phillip Glass, took a hand at jazz with Dizzy Gillespie, bought Van Halen’s 1984 and 5150 (California-crazy me), and went for it with Big Daddy Kane, MC Lyte and Salt ‘n Pepa.

But for every Simple Minds‘ Once Upon A Time (1985), there was Toto’s The Seventh One (1988), or Thompson Twins’ anything, really. For every song that stuck with me, like Sting’s “Be Still My Beating Heart” (1987) or Anita Baker’s “No One In The World” (1986), there was Whitney Houston’s “Love Is A Contact Sport” (1987) — one of the worst songs I’ve ever heard a voice as awesome as Whitney’s sing — and Howard Jones’ “Things Can Only Get Better” (1985). “Things Can Only Get Better,” by the way, is in my iPod’s random rotation, as I have come around to it again in the past decade.

I was trying to figure out what I liked and didn’t like musically on the fly, having lost a significant amount of time growing up for the triviality of enjoying music. This was hard to do, though, in a world in which my peers and many adults assumed that I knew myself well at the ripe old age of seventeen. No matter what my IQ score was in ’87 (about a 130, for the eugenicists out there), my emotional and psychological development probably put me about five years behind my now former classmates.

So my music tastes varied from genius to God-awful. They still do. The difference is, I recognize I may be the only one who listens to DMX for comic relief, because there’s no way to take him or his rap seriously. Or that I find Tupac and Eminem equally compelling and equally problematic. I still

don’t understand the genius of Miles Davis, no matter how many times jazz enthusiasts like my friend Marc try to convince me to keep listening. Still, half of my music comes from the period between May ’87 and October ’97, and the rest crosses boundaries in time, genre, race and language (Deep Forest, anyone?).

I also recognize complete schlock, too. Unfortunately, commercial music these days is about as emotionally and mentally nutritious as a McDonald’s Big Mac and a Taco Bell Gordita combined. I try every few weeks to find out about the latest artists, just in case my son ever becomes interested in music again. Thank goodness, though, there’s no Lil’ Wayne, Rick Ross, or Iggy Izalea in our house! I’ll take my Glass Tiger (not really) any day over that!

I hadn’t planned on posting this piece until June, when it will be twenty-five and fifteen years since my shopping while Black incidents literally a block apart on the Upper West Side of Manhattan. But in light of the Trayvon Martin murder — and that’s what this is, a murder — at the hands of the racist vigilante George Zimmerman more than three weeks ago, it makes sense to do this post now.

Tower Records, Friday afternoon, June 19th, ’87, the day after I graduated from Mount Vernon High School (see more from my “The Day After” post from June ’08). With high school now over, I was in a celebratory mood. I took the 2 train from 241st to 72nd and walked the six short blocks to the great Tower Records on 66th. I had my latest Walkman, my first Sony Walkman, actually, and my book bag with my recent tape investments, including a few I’d bought at Tower Records the previous Friday. Investments like Fleetwood Mac’s Tango In The Night, Genesis’ Invisible Touch, and Glass Tiger (yes, Glass Tiger — absolutely terrible).

I went into the store and began to browse the R&B and Pop/Rock sections for tapes. There I noticed some plastic wrapping on the floor, as if someone had taken a tape out of its case and stolen it. While I thought about the wrapper on the floor, three White security guards came out of nowhere, grabbed me and dragged me to a storage room downstairs.

“We got you for stealing,” one of them said, presumably the store’s head of security.

“You don’t have me for anything. Is this because I’m Black?”

“Well, how do you explain the wrappers we found on the floor and the tapes in your bag?”

“The wrappers were on the floor when I got there and the tapes . . .”

“You’re going to jail, asshole, when we bring the cops in here!”

“First of all, I’m not going anywhere. The tapes are all mine, and some of them I bought in this store last Friday. I have the receipt at home. Don’t you have ways to verify my purchases?”

“We don’t believe you!”

“It doesn’t matter if you don’t believe me. I’m under eighteen. You can’t hold me or turn me over to police without calling my parents. I’m not even from here, I’m from Westchester County, and my receipts are back home there.”

“If we were outside instead of in here, I’d slap you around, wise-ass!”

“Then I guess I’m the lucky one. Why don’t we check the receipts from your cash registers up front for my purchases from last Friday? I know they’ll show that I’m right and you’re wrong!”

The hotheaded White man who did all of the talking got up and made a threatening slap gesture with the back of his left hand before the other ones grabbed him and told him to calm down. They let me go. On my way out, I said, “I hope you learned that not every Black person coming in your store is a thief!” It would be ten years before I went into Tower Records again (of course, Tower Records went out of business in ’06).

That next time was May 12, ’97, and I had just finished a day-long interview for an assistant professor

Barnes & Noble, 1972 Broadway (NE corner of 66th and Broadway), New York City, December 30, 2010, three days before it closed. (Jim In Times Square via Flickr.com). In public domain.

position at Teacher College (Columbia University’s school of education). I had no problems as I browsed Tower Records for about twenty minutes. It was my first time there since the ’87 incident. Then I went across the street to the Barnes & Noble mega-store. From the moment I walked in the door until I left a half-hour later, a Latino security guard tailed me as I perused books in the African American nonfiction, Cultural Studies and Music sections of the store, across three floors. As I walked out, I walked up to the guard and said

“While you were stalking me, you probably let half a dozen White folks slip out of here with books and CDs. Did you learn anything while you were watching me?”

“I was just doing my job,” the dumb-ass security guard said in response.

“Well, if following a Black guy around for thirty minutes is part of your job, you deserve to lose your job,” I said as I walked out, not to return until Christmas ’02.

Over the years, I have been stopped by police in Mount Vernon, Pittsburgh, DC and L.A., followed by police in Maryland, Pittsburgh and L.A., patted down by police at Carnegie Mellon and the University of Pittsburgh, and followed by more security guards — including ones guarding those precious gated communities — than I’d ever care to count. My only crime was being a Black male in America’s public sphere.

Trayvon Martin in hoodie, March 19, 2012. (http://media.metronews.topscms.com/). Qualifies as fair use under US Copyright laws because photo is an illustration of one of the subjects of this post.

Like so many others, I could’ve easily been Trayvon Martin twenty-five, fifteen and even five years ago. This constant tightrope dance that we must do to make old White ladies and scared White guys and ig’nit Black folks feel comfortable. So that I’m not arrested, or maimed, or killed. So that I can go about the business of being me and making myself and the people in my life better. As Nathan McCall would say, it “makes me wanna holler.”

Short of moving to a nation not built on the imperialism and fear of Black males in particular, all I can do, for better and for worse, is to prepare my son for this very racial America in which we still live. And yes, that makes me angry.

There's also a Kindle edition on Amazon.com. The enhanced edition can be read only with Kindle Fire, an iPad or a full-color tablet. The links to the enhanced edition through Apple's iBookstore and the Barnes & Noble NOOK edition are below. The link to the Amazon Kindle version is also immediately below: